Here we have a simple and straightforward one hour bonus DVD. No bonus features other than subtitles, so let’s dive in and watch Deep Purple hit the road! This documentary, unlike past ones, is not about the making of the =1 album. This is about Deep Purple on tour, and is more like a fly on the wall look at the band in their environment. We seem them relax, practice, drink and work.
We begin with Steve Morse, and his sad necessity to step down from Deep Purple after 28 years in the band. Roger Glover explains that Steve came in at a time (1995) when Deep Purple needed to reinvent themselves, which is what they did. Then, we transition to Deep Purple live on stage with Simon McBride, and “No Need to Shout” from the bonus live 10″ records included in this box set. Don Airey calls it a “fresh start”, and Ian Paice contemplates on how a new member creates new energy in the Purples. Roger praises Simon’s “cool” personality. The important thing, with any new Deep Purple member, is to musically just be themselves. Don jokes that Simon “brought the average age of the band down to 74.”
Time to hit the road. Ian Gillan talks about the routine, and the tour begins (to the tune of “Hush”). Hotels, breakfasts, limousines…and security tips from Gillan! It takes about three hours to set up the stage and start checking the PA. Drums are tuned and cymbals are attached to the kit. The guitar tech talks about the adjustment from Steve Morse to Simon McBride, and a different brand of guitars. We also get a good look at Don Airey’s keyboard rig. In a cute touch, Don keeps a bobblehead of his old boss, Ozzy Osbourne, on his keys. Finally the band turns up and sound checks. Don Airey tells Ian Paice a funny story about Gary Moore messing with his keys. The band have a quiet, very English sense of humour, but they are often seen laughing and kidding around.
During soundcheck, we get to hear Purple working on a new song: “Old-Fangled Thing”, which ended up on =1. Airey says he really enjoys soundchecks because it gives them a chance to play things like bossa novas, and entertain the crew. We move on to the 02 arena with Blue Oyster Cult opening, and other gigs with Jefferson Starship, who Purple seem to get along with famously.
There is a hilarious bit in Don Airey’s keyboard solo. He takes a wooden shim, and sticks it in the keys to hold them down. As a single note plays. A waiter with a glass and bottle emerges. Don pours himself a glass of wine as he takes a brief break. It’s all so very quaint and gentlemanly funny. Don’s son is actually the band’s stage manager, and it has allowed him to see more of his dad than he ever would at home.
The documentary then jumps to another day, and the 10 minute wait before showtime. Backstage, Roger Glover takes a crack at Ritchie Blackmore’s violent aversion to cameras. Ian Paice jokes about the palpable tension in the air, as the band continue to joke around and laugh, whiling away the last minutes before stage time. Paicey picks up a pair of bananas, plays a drum roll, complains the bananas are not properly balanced, and tosses them aside. That’s the wildest party moment in the Deep Purple dressing room.
Finally the waiting is over. The whole day revolves around the 90 minutes on stage, remarks Gillan. The band take the stage while Holst’s “Mars: Bringer of War” assaults the crowd in preparation. “Highway Star” (which, incidentally, is not included on the live records in the box) rolls out the thunder, and Simon McBride brings his own style to it. The documentary runs through a few live clips to give you a taste of the set, including the beautiful ballad “Nothing At All”.
When Deep Purple hits Berlin, Ian Paice has the idea to play a bit of “Let the Good Times Roll”. A young horn section is brought in, and it sounds great to everyone. We are treated to a clip of a soundcheck of “Hush” with the horns.
Show over, it’s off to the hotel, get a tea, and into bed with a book for Ian Gillan. Paicey prefers a glass of wine after a show, “because I’m allowed”.
Though it’s never overtly stated, one can’t help but notice the contrast in this documentary to the war stories of old. We remember the tales of on-stage and backstage blowups, food trays thrown about…but not any more. Now Deep Purple is five older gents who love playing together and don’t seem to mind each other’s company too much. That’s nice to see. And it’s still entertaining enough for an hour.
As a bonus DVD in a box set, this one’s easily a 5/5.
The box also came with art prints, a lanyard, guitar picks, a nice T-shirt and more, all seen in this unboxing video below.
DEEP PURPLE – =1 Live Album – 10″ Vinyl (2024 Edel)
When you buy a Deep Purple super deluxe, you get a new live album on three 10″ records every time. These records are each 45 RPM. This wonderful Deep Purple tradition carries on with this important release, the first live album with Simon McBride to be released. Let’s have a listen to all six sides.
Record 1 was recorded in Milan 2022, the same gig that yielded the B-sides for the “Pictures of You” single (“When A Blind Man Cries” and “Uncommon Man”), though they are not included here. This record opens with Machine Head‘s “Pictures of Home”, and Ian Paice beginning the proceedings with his usual drum intro. Don Airey’s organ dominates the mix, but Simon can be heard doing justice to the original arrangement. His tasty solo is his own unique composition, combining bluesy playing with shred in a way unheard before in Deep Purple. Blackmore fans who found Steve Morse to be just too different may prefer Simon McBride.
From 2020’s Whoosh! album comes “No Need to Shout”, one of the more straightforward tracks. It has a solid “Stormbringer”-like groove, but consider that Deep Purple remain unafraid to play new songs on tour every time. Simon and Don sneak in these quick licks that add season to the sauce. The chemistry with McBride is immediately undeniable.
A set highlight is the powerful ballad “Nothing At All”, probably the best song from Whoosh! Originally this song had a trademark Steve Morse guitar lick, but Simon acquits himself very well in this tricky part. It’s not identical, but the right notes are played, if in a very slightly different style. This beautiful song is harder live, with Ian Paice really smoking those drums, and Don Airey hitting his keys with more vigor.
The first record closes with another Machine Head classic, the undeniable “Lazy”, which we have so many live versions of. I have at least 34 live versions of “Lazy”, with more residing on live albums I have yet to rip to my PC. This version is the first available with Simon, and the word to use is “refreshing”. After 52 years, it is nice to have a version with another lead soloist, bringing his own powerful, melodic twist. Ian Gillan’s vocal is a little laid-back, but this version is a delight! When Ian starts playing the harmonica, it changes into something more akin to a country jam.
Record 2 was recorded in Sofia, Bulgaria in 2022. “Strange Kind of Woman” keeps us in classic territory. Somehow I get the feeling that Airey’s organ isn’t growly enough. Of course Gillan struggles with the high notes, but that’s old news and nobody should really care anymore. Simon’s solo is, once again, a fresh twist. Then they dig back even further with “Hush” from Shades of Deep Purple. Nothing different here, just the same classic groove and a killer organ solo, followed by a playful tradeoff between Simon and Don.
Side two only has newer material, beginning with “7 and 7 Is” (by Love) from the covers album Turning To Crime. Including “Hush”, that’s two covers in a row. It is cool that they were playing Turning To Crime material live, but this is skippable for most people (except Ian Paice fans who will dig the busy drum parts). More enjoyable is “Throw My Bones” from Whoosh! Don’s synth on this track is especially fun, and Simon makes it a bit heavier in the guitars. “Time For Bedlam” from InFinite closes this side. Ian Gillan struggles with the difficult vocals, which makes it harder to enjoy, though the guitar melodies are just sublime. This is a very technical track. Roger Glover holds everything together on bass while the feature players stretch out.
We are back to Milan on the third disc. Record 3 opens with the biggest surprise: “Anya” from 1993’s The Cattle Grazes Battle Rages On. It is no secret that making the album was an unpleasant experience for the band, especially Ian Gillan, but it is really cool to see them reaching back to the early 90s. This is the first version available with Don or Simon. Just as “Anya” is the only representation of the 1990s (a decade with four Deep Purple studio albums), “Perfect Strangers” is the only track from the 80s, as it often is. This is a solid workmanlike version.
The final side closes, of course, with “Smoke on the Water” and “Black Night”, leaving us without a version of “Highway Star” with Simon. This is a real shame; we hope one will come on future inevitable live albums. Ian Paice sounds great on these, and Simon’s solo on “Black Night” is bonkers, the same way that Blackers used to be bonkers.
This is a great little late-period live album. With a band and a back catalogue this extensive, it is natural that they can’t always fit in songs from Purpendicular, Now What, or In Rock. Newer material is more valuable in a live release such as this. Still…would have been nice to get “Highway Star”.
“It all adds up to one…” Would that have made a better title? Deep Purple don’t always come out with the greatest album titles or covers, but they have produced consistently good music during the Morse era, and now beyond. In their first lineup change since Don Airey joined the band in 2003, Steve Morse has stepped down for important personal reasons, and new kid Simon McBride has picked up the plectrum.
When Mr. McBride was born in Belfast in 1979, Deep Purple weren’t even a band anymore. They were in the middle of an eight-year hiatus. The last Deep Purple compilation released was 1979’s Mk II Purple Singles when he was an infant. Deepest Purple wasn’t even out yet. Rainbow was about to release Down to Earth with Graham Bonnet. Gillan were working on the second album as a band, Mr. Universe. Into that world sprang Simon McBride. He would grow to become a solo artist who would work with Purple members Don Airey and Ian Gillan, before being asked to join temporarily and then permanently.
Retaining Bob Ezrin the producer’s chair, Deep Purple wound up with something familiar, yet slightly different. There is less double tracking on Ian’s voice, which gives it a fresher sound. The songs are slightly harder edged, and there are more of them. =1 is the first first Deep Purple without bonus tracks since InFinite, and like Whoosh, feels conceptual on some tracks. According to the band, the world is “growing ever more complex, everything eventually simplifies down to a single, unified essence. Everything equals one.” I don’t know about that, but that’s what =1 means to them.
At 13 songs, the album could be trimmed down to a tidy ten. Let’s break them down.
Simon gets to show off some new sounds at the start of “Show me”, a relentless groove, unlike anything from the Morse era. Ian’s speak-sing storytelling vocal is familiar and fun, a perfect way to adapt to singing in your 70s. The groove is different from past works. Wonderful solo work from Don and Simon here, with Don on synth. The back and forth is very tasteful. It’s more playing for the song, and less trying to outplay each other like Jon Lord and Ritchie Blackmore in the 1970s.
Track two continues that hard grooves. “A Bit on the Side” boasts a great chugging guitar part, very different for Deep Purple of any era. The chugging is almost Slash-like, circa “Locomotive”. The chug-riff is the main feature, but once again Simon’s solo is stratospheric with loads of technique. Don’s is equally cool, with a spacey vibe.
“Sharp Shooter” is one song on which Ian doesn’t sing the name in the chorus. Instead there is a memorable refrain of “Shot in the dark”. The vocals are pushing the upper limit a bit, and the song has a vibe very much like the Morse era of Deep Purple. Nice soulful female backing vocals here, which is rare in Deep Purple. Once again, Don is focusing on the synth for solos. Not a highlight, but a decent tune with a modern Purple groove.
The first video/single was “Portable Door”. Ian Gillan weaves his traditional “English as a second language” lyrical whimsy. Some favourite lines:
When it came to me one day in Jerksville Man, I was right on the edge And that jacket’s too small for a man of your size And those socks are too big for your head
I love that. Socks are too big for your head? Why not. The lyrics seem to be about tedious conversations that go in one ear and out the other.
I was trapped in a dire situation Between reason and someone-in-law
“Between reason and someone-in-law” is just brilliance. Only Ian Gillan could write that. Meanwhile, Simon hits you with a cool chord that swooshes through. “Portable Door” has a stamp like the last few albums, but the one Simon chord really sets it apart. One chord: huge impact.
“Old-Fangled Thing” has a nice lyrical reference back to “Living Wreck” from In Rock, but is not the most memorable of songs. Is “old-fangled” another Gillan-ism? This song is a little tricky, like much of the Morse era was. In the end, it’s possible that this song could have been axed, but its speed is impressive.
There are two “ballads” (or slow blues) on this album. The dramatic one is “If I Were You”. There is a memorable chorus and a mournful guitar melody that might recall things like “When A Blind Man Cries”. Either way, Purple have done some impressive ballads and slow songs during the Morse era, and now the Simon era too. His solo is a little Bonamassa at times. Also take note: there’s an orchestra on this track!
The second single “Pictures of You” is immensely memorable. A fantastic song, with a focus on vocal melody. Purple play it simpler here and the dividends pay off. There’s a bit of multi-tracked vocals on the chorus, which is essentially what this song is about: the chorus! Until we get to the outro that is, which is more Marillion than Purple.
On the single for “Pictures of You”, the song went right into “Portable Door” without a break. The effect was an exciting transition. It’s less exciting on album, leading into “I’m Saying Nothin'”. This has that herky-jerky feel of the Morse era, but is otherwise not particularly memorable. Another one that could have been cut.
What’s the story with “Lazy Sod”? Ian Gillan was asked how many songs he’d written in his life. He estimated about 500. He was then informed that Dolly Parton wrote over 5000…”you lazy sod”. Can’t argue with that, so Ian turned it into a lyric. “That’s alright because I’m a lazy sod, and I’m hot.” It’s the third single and the most “rock” of them. Very old-school Deep Purple. Could have been on Who Do We Think We Are!
“Now You’re Talkin'” is the second song with an abbreviated “in'” title instead of “ing”. (David Coverdale, were you in the room?) Very similar to “Bananas” from 21 years ago. Almost a re-write of that prior song, but with a really fun screamed part in one of the verses. Really great riff, and always a pleasure to hear Ian do a scream, whether he sounds like a 70+ year old or not! Wait til you get to the solos!
Back in the Rapture of the Deep era, Ian told us that “Money Talks” to him. Now, he has “No Money to Burn”! There is an organ-based riff, which is a nice change of pace for this album, but the song is otherwise unremarkable. The third of three songs we could cut to get down to ten.
Deep Purple are not overkilling it on ballads. “I’ll Catch You” (maybe a slow blues) is a lovely ballad, soft and bluesy like a smokey club. It is placed perfectly near the end as an ear-cleanse, before we get into one of the best Deep Purple closers in years with the very English title, “Bleeding Obvious”.
If “Bleeding Obvious” isn’t the best closer since “Bludsucker” on Abandon, then let’s hear your picks! It could also be the most progressive tune? Could that opening figure work for Dream Theater or Marillion? Or even Rush? This is an absolutely brilliant tune, mostly down to that tricky riff and melody.
And so that’s it with =1; no bonus tracks this time. There is a deluxe box set with the first official release of a concert with Simon McBride, which we’ll get into on a separate review. Aside from the length, the only real complaint here is the minimalist artwork. The inner sleeve art is far more engaging.
Here it is: One of the biggest rock album events of the summer! We have the Deep Purple =1 Super Deluxe Box Set in hand, and we go through all its contents. Have a watch.
Thanks to Jen, Dr. K, my parents and my Aunt Lynda for a wonderful Christmas haul this year.
Music:
Arkells – Blink Twice, completing my Arkells CD collection!
Black Sabbath – Live Evil super deluxe box set
Deep Purple – Tokyo, Japan 2001/03/24-25
Jen spoiled me with junk food and treats. Canadians of a certain age remember a drink called Tahiti Treat that doesn’t exist anymore. Jen found something called Tahitian Treat fruit punch that I hope will be similar. This was quite a nice batch of sugary snacks.
There were other assorted cool things too, such as comic books, funky socks, a hat with a light, and sardines! I also received Moby-Dick and look forward to the reading challenge.
For those curious, yes I did sabotage my mom’s Christmas village one more time.
Unfortunately, we also received the call this morning that Grandma has Covid again, which means we won’t be seeing her tonight. She’s none too happy but we will see when she’s well again. This is round two for her.
This Christmas I want to express gratitude to everyone who is in my life. This was a great Christmas. I even got a toilet light!
The Infinite Live Recordings, Vol 2. (3 x 10″ EPs)
DVD – Live at Hellfest, Roger Glover and Bob Ezrin in Conversation
Whoosh!
Every Deep Purple album seems like the final album. Maybe this one is; maybe it isn’t. It feels like the band treat every album as seriously as if it was their last. The cover art and music of Whoosh! takes us back to 1968 and Shades of Deep Purple. The logo is similar, and there is a new version of the 52 year old first Deep Purple song ever, “And The Address”.
Opening with the lead single “Throw My Bones“, the album sets a mid-tempo pace from the start. This is a lush, catchy groove with hints of classical and funk. It began life during the Infinite sessions but was not finished until Whoosh! Purple pick it up a bit on “Drop the Weapon”, a non-preachy appeal for cooler heads to prevail. It has a similar vibe to the 1988 album Accidentally On Purpose by Ian Gillan and Roger Glover. The immediate riffs and hooky vocals are bound to make this a favourite.
“We’re All the Same in the Dark” has a cool groove and a jaw dropping funky Morse solo. Purple haven’t sounded this funky since Glenn Hughes was in the band. Airey and Glover give it some heaviness. “Nothing At All” sounds like a Morse composition, but his intricate classical-inspired interplay with Airey is sheer delight. This could be the best track on Whoosh!, and contender for one of the best songs of the entire Morse era. A massive chorus could help this one cross over on radio. Though it’s a far different song, “Nothing at All” has elements that recall “Never A Word” from Bananas. A regal-sounding crowning achievement.
“No Need to Shout” opens with the growl of a Hammond. “Just a bunch a crap, you’re talkin’ out your hat!” sings Ian on a song featuring rare female backing vocals. This is one of a few new Deep Purple songs that display a pissed-off attitude. “I got your message loud and clear, the meaningless ringing in my ear.” Add in a couple naughty words and you can tell Ian isn’t having any of it. Cooler though is “Step By Step”, a very different kind of song with perhaps some lineage with “Vincent Price” from Now What?! The haunting, ghostly quality of “Step By Step” sets it aside with a cascade of keyboard accents.
Purple start to boogie on “What the What” (a friendlier way of saying “What the Fuck”). While Don’s hammering the keys, Steve stabs out with some tasty guitar twang. If any song recalls “old” Deep Purple, it’s “What the What”, which could have been on 1973’s Who Do We Think We Are! But that album completely lacks the joie de vivre of “What the What”. Then Purple get heavy on “The Long Way Round” which just drives. The keyboard solo is out of left field but is a spacey masterwork to itself. There’s even a sly Black Sabbath callback — “I promised myself I would not get Trashed again.” Then the song dissolves into a beautiful, quiet stream of notes. This serves as a great lead-in to “Power of the Moon”, an excellent track previously heard on the “Throw My Bones” single. It stalks prey in the cover of night.
Another heavy growl unexpectedly opens “Remission Possible”, an absolutely smokeshow of fretwork. It’s a brief instrumental interlude just before the excellent “Man Alive”. This track, enhanced by orchestra, sounds absolutely massive. It has serious heft, but it’s not weighed down. Ian is writing about some heavy themes and it will take deeper analysis of the album as a whole to decipher them all. Roger Glover was very happy with Ian’s writing on the album, which takes a more contemplative tone without going heavy-handed.
The final side of vinyl begins with another instrumental, the aforementioned “And the Address” from Shades Of. Deep Purple have occasionally re-recorded old material with new lineups, such as “Hush ’88” and “Bludsucker”. This cut of “And the Address” has more momentum. The only guy present who played on the original is Ian Paice, but Don Airey is a dead ringer for Jon Lord. “And the Address” is one of the most enjoyable songs on Whoosh!, probably surpassing the original recording.
There’s still one track to go: the “bonus track” called “Dancing In My Sleep”. Safe to say it’s called a “bonus track” because it’s the most different of all the songs. It’s an Airey conception based on a cool little techno beat. Though it’s certainly not dance music, it does have one foot in that world and it’s a sheer delight to hear Purple stretch out into new territory 52 years into their game.
A seriously fine album this late in the career. An album so fresh that it is hard to rate so soon. But clearly a high point, with a band still exploring new ideas completely unafraid of what people might say. In fact, a band who still has something to say. Something worth listening to.
4.25/5 stars
But that’s not all of course. Go big or go home. Check out the rest of the box set’s contents in detail below.
The Infinite Live Recordings, Vol. 2
The previously released Infinite Live Recordings, Vol. 1 came out in 2017. The concept behind the series is simple: pure live releases with no overdubs. Vol. 2 comes from a show in 2017 on the Infinite Tour in Rio. It is the big bonus in this box set, and present on a set of three beautiful 10″ coloured records. 72 minutes of live Purple — essentially, a double live album.
The opening thunder of “Highway Star” is robust on purple 10″ vinyl. How these guys can still blast through it full speed is unknown, but they do it. Mr. Gillan still gives it his all, which is not the same in 2017 dollars as it was in 1970 dollars, but still more than the average mortal his age. Mr. Morse and Mr. Airey give each version of “Highway Star” a different feel, while Mr. Paice in the back is the only original member left from the 1968 lineage. Sticking to Machine Head, Purple seamlessly go into “Pictures of Home”. The old familiar groove of Mr. Glover is comforting warmth from the emptiness, eagles and snow. Morse’s solo is a composition to itself, and then Airey gets to put his spin on Jon Lord’s classic organ solo. Then it’s an unfortunate side flip as the band goes back to In Rock with “Bloodsucker”. Gillian is more a verbal timekeeper than the screamer he once was, but the track is otherwise flawless and heavier than lead. A more mainstream hit, “Strange Kind of Woman” flows from that, and relaxes the groove a bit. Don Airey gets his first of two solos (this one organ) as the last track on this disc.
The action continues on transparent burgundy vinyl, and “Lazy”. Morse’s signature string bending is the star of this show. There are a couple different twists in this fresh version including a nifty Gillan harmonica solo. Then it’s the only new song of the set, “Birds of Prey” from Infinite. It’s weighty and worthy of its place. Steve Morse is the Captain on this flight. Gillan ends the track on a joke and then, after a side flip, introduces Don Airey’s keyboard solo including Ozzy Osbourne’s “Mr. Crowley”. This diverse and fun solo goes into “Perfect Stranger” (no “s”?) which has steadfastly remained in the setlist ever since its 1984 conception. Gillan is shaky but the Purple is solid.
The final vinyl, clear 10″ power, commences with “Space Truckin'” signalling the beginning of the end. “Smoke on the Water” is the penultimate moment, slow and groovy after all this blazing rock. Ian Paice has a couple nice moments on this one and Steve Morse’s stuttery solo is completely compelling. One more side flip, and Purple end the set with their first hit “Hush” and the “Peter Gunn” theme. Glover goes funky on this one with a bassline a little like “Another One Bites the Dust” in parts.
An entertaining and good live album, but one you won’t play often simply because Deep Purple have 846 live albums (exaggeration).
There is still more live material from the same tour in DVD form included in this box set.
Live at Hellfest
Next we have a double feature DVD: A live show from Hellfest in 2017, and an interview session with Roger Glover and Bob Ezrin. The Hellfest show has a much longer runtime with more new material. They open the show with “Time For Bedlam” from Infinite. Ian doesn’t even attempt to sing it in tune, but we’ll always cut the guy some slack for still getting up there and givin’ ‘er. The track has a “Pictures From Home” vibe, and the band look cool playing midday in shades. Into “Fireball”, Ian Paice leads the charge as if it was 1971. Don Airey has an Ozzy bobblehead on his keyboard! Then it’s “Bloodsucker”, powered by Paicey. “Strange Kind of Woman” is a nice melodic respite after a pair of piledrivers like that. Ian ends this one with a bizarre freeform spoken word beat poetry bit, but with Morse shredding next to him.
The Jon Lord tribute from Now What?!, “Uncommon Man”, is heartfelt, and a solid track from their current era. It sounds massive. As good in quality is “The Surprising” from Infinite, something of an epic, and performed with full gusto. Intricate symbol work by Paice.
After a brief pause, it’s on to Don Airey and “Lazy”. A high speed workout like that merits something slower to follow, so it’s “Birds of Prey” from Infinite, a steady groove with dynamics. Steve Morse’s solo takes center stage and it’s a melter. “Hell To Pay” picks up the pace. Not Purple’s most remarkable single, nor the best version, but nice to have in live form. Airey’s jammy keyboard solo on this track is stellar, just as the sun starts going down. Then he gets his own full-blown solo, with the Ozzy bobblehead there next to him during “Mr. Crowley”. Roger Glover just watches from the side as Don goes to town through familiar melodies and themes. The crowd eats it up smiling.
Don takes it into “Perfect Strangers” without missing a beat, and soon the rest of the band joins him. This version has some stellar Morse guitar trickery. The set is almost finished, with only “Space Truckin'”, “Smoke on the Water”, “Hush” and “Black Night” left to satisfy cravings for the classics. Even at the end Paicey still brings that thunder. “Hush” has the “Peter Gunn” theme attached, and “Black Night” brings the show to a massive finish.
It’s absolutely delightful watching Ian Paice play the drums, as he mouths along to every beat as if playing beatbox along to himself. It’s fantastic and an expression of pure joy.
It’s not over yet. The DVD has even more content.
Roger Glover and Bob Ezrin in Conversation
The DVD also includes the conversation with Roger Glover and Whoosh! producer Bob Ezrin. This is another full 70 minutes of content. Ezrin was involved with Purple from the jamming stage in Nashville and speaks in terms of “we”. One of the biggest takeaways from this interview is a piece of wisdom from the late Jon Lord as told by Roger Glover. Lord didn’t want to do more than two takes of a solo. More than that, and he starting thinking too much.
The pair discuss the lyrics, the songs, the title (nicked from Faulty Towers), the playing, and more. It’s lovely watching the pair just enjoy Steve Morse’s harmonics. “Like capturing lightning,” says Roger. Watching this portion of the DVD will enhance your enjoyment of the album. It’s fun knowing what parts of the songs turned on the musicians and producer. “Stretch out,” advised Bob. And so Purple interpreted that as stretching it out every way. “I wanna put the Deep back in Purple,” said Bob. The boys also praise Ian Gillan’s focus, from eating right to meditating. They even go back in time and talk about Glover’s joining of Deep Purple in 1969.
Ezrin particularly loved seeing magic unfold live before his eyes and ears, captured on tape. He is obviously a fan of Deep Purple as musicians and as people. Whether you can get into Ezrin-era Purple or not, there is real chemistry between band and producer.
You’ll probably only watch this conversation once, but you’ll be glad you did that at least. There is so much knowledge and history to absorb here that all fans are advised to give the whole thing a spin.
Summing up
The box set itself comes with a cool black T-shirt with the “strolling dissolving astronaut” graphic. This is the second album in a row with simple excellent art design for Deep Purple. The astronaut recalls the music video for “Knocking At Your Back Door” from 1984. He appears in numerous places in this set in different forms. There are three art prints (two 12×12 and one 12×6), and of course all this music! The vinyl copy of Whoosh! comes in a gatefold sleeve with credits and photos. It sounds phenomenal with plenty of bottom end. For lyrics, you’ll have to dig into the included CD copy.
Of course, if you don’t need all the extra live stuff and added goodies, you could just buy Whoosh! on CD, vinyl or download. It’s frequently said that the benchmark for Purple is Purpendicular. “Best album since Purpendicular,” fans often enthuse. Whoosh! could be the best album of the Ezrin era, and is a contender for best of the Steve Morse epoch. A serious fan will want the whole box with the three live 10″ discs. They are beautiful to look at and sound good on the turntable. Though the set is expensive, this is the kind of thing I’m willing to pay for.
Three (or four, or five, or six?) guests. Six lists. One unboxing. A marathon live stream like none before. Bear witness to the greatest Nigel Tufnel Top Ten list ever as we rhyme off our favourite concerts.
For the unboxing, go to 0:05:30 of the stream.
For the start of the lists, skip to 0:32:10.
Thank you Mom and T-Bone for your lists! Thanks to Meat, Mr. Books, and Superdekes for co-hosting. Special thanks to Rob Daniels for joining us at the end! And as always thanks to YOU for watching!
GUNS N’ ROSES – Appetite For Destruction (Originally 1987, 2018 Universal 4 CD/1 Blu-ray super deluxe edition)
Of course Axl Rose would be late for his own 30th anniversary. And why not? This set obviously took time to prepare for release so it’s better we have something that is not rushed out.
As Appetite is one of the most influential rock albums of all time, a super deluxe expanded edition is expected by now. This album launched a million bands back in the 80s and 90s, most of whom looked and sounded like knockoffs. Now you can deconstruct the album and hear how simple the formula actually was. (Liberal doses of Aerosmith with punk sprinkled on top.)
The first disc in this well-stuffed box set is the 5.1 Blu-ray. Why just listen in stereo when you can go full-bore with a surround sound mix?
This disc answers that question. It’s because you can tinker too much with a 5.1 mix, and come out with something that is too different for a beloved classic original like Appetite. This album was the roughest sounding thing Guns ever released. Unfortunately the 5.1 mix sounds clean. Too clean. An artefact of not having to cram all that music into just two channels?
“Welcome to the Jungle’s” guitars come from behind. Slowly turning, Axl surrounds you. Then the mix plays it straight, though backing vocals are more prominent. Hear Steven Adler’s reckless abandon up close and personal, the ride cymbal like his accelerated heartbeat.
It’s a good mix but some will find it too gimmicky and inconsistent, with guitars and vocals jabbing you unexpectedly from here and there. It varies from song to song and it’s all a matter of taste. You want to hear the 5.1 mix, but not so much that it changes parts of what you liked in a song. Some tracks are a mixture of both approaches. The intro to “Paradise City” is immaculately layered and laid out around you. Then things consolidate when it’s time to rock. Man, can you hear those guitars though! Every Les Paul can be noted clearly and separately in your mind. So can every vocal track; and there are a few.
There are even 5.1 bonus tracks. “Shadow of Your Love” is one of them, being the big song they were promoting for this box set. “Patience” benefits from the 5.1 re-examination. It’s a gimmick-free mix with sparse arrangement that sounds natural and familiar — like a band jamming on acoustics in a room with you. This makes it the best one on the whole disc. Even “Used to Love Her” has more prominent differences from the stereo mix, as does the acoustic “You’re Crazy”. The last bonus track is “Move to the City”, also acoustic, and sounding like a big party jam.
Finally the Blu-ray disc includes all the music videos and even one for “It’s So Easy” that was made just for them and not MTV! It could be the first documented appearance of Axl Rose in a kilt.
Unfortunately the 5.1 mix will most likely get less play than the good old stereo version, remastered on CD 1. What can be said about Appetite for Destruction that hasn’t been said before? All that sonic power is on the verge of overload in just two channels. If you imagine yourself back in 1987, you can hear why this album made the impact it did. It steered rock and roll back into a less cartoony, more dangerous direction. Classic single after classic single still command the airwaves today. In an unlikely twist, the back-to-basics, loose guitars of Slash and Izzy Stradlin are studied now like old Stones riffs.
The second CD (“B-Sides N’ EPs”) is brimming with extra value. Most of the followup EP, GNR Lies is included…all except “One In A Million”, that is, which Axl promised he’d delete approximately 20 years ago. With that EP still in print, nobody misses the track here. Adding the Lies material as bonus tracks is cheating a little bit, but I suppose that EP was part of the Appetite album cycle. Even though one track is deleted, the Lies stuff is expanded with bonus songs. A sharp “live” version of “Shadow of Your Love” follows “Mama Kin”. There’s also an alternate acoustic take of “You’re Crazy”. Once you’re past the acoustic songs including “Patience” you’ll get some vintage live B-sides. “It’s So Easy” is more vicious than the original, and sounds really live unlike the previous Lies songs like “Nice Boys”. The rare “Knocking on Heaven’s Door” is especially cool since it’s pre-Dizzy Reed and has no piano. Otherwise the style of the eventual Illusions version is sketched out, right down to the “high, yai, yai yai yai” vocals. Last on the CD is the live cover of AC/DC’s “Whole Lotta Rosie”, foreshadowing Axl’s future as frontman of the Australian institution. This classic version has been heavily bootlegged, but remastered on CD, it sounds so fresh.
The final two discs are all unreleased sessions from the legendary Sound City (and other studios). Most of the Appetite songs are present in demo form but some, like “It’s So Easy”, “Brownstone” and “Sweet Child” are not. The shape of the album was already arranged down to most of the guitar solos. It’s less frantic and more rehearsed but it’s there in very close to final shape. Elements that wouldn’t make the final cut, like some of Axl’s scatting a-la Steven Tyler on “Jungle”, are here to examine. In the 1970s these Sound City sessions would have been good enough to release as an album! In the 80s, they needed Mike Clink to make the album stand out and they did that.
Non-album material is here a-plenty. The Sound City version of “Shadow of Your Love” on CD 3 is the B-side from the old “Live and Let Die” CD single, my personal favourite version for its reckless abandon. The cleaner one on CD 4 is the one released as a single in 2018. Then there’s a trashy punk metal version of Elvis’ “Heartbreak Hotel” which could have been a fine B-side as well. “Jumpin’ Jack Flash” on CD 3 is faster and different from the familiar bootlegged version (still unreleased).
The 4th CD is a mixed bag of demo sessions and unreleased songs, jams and acoustic versions. Instrumental “Ain’t Going Down No More” sounds like an Aerosmith outtake riff, with cowbell out the wazoo. “The Plague” has vocals but it’s quite clear why it was never released. It could be the worst Guns N’ Roses song heard yet. “New Work Tune” is just an acoustic riff that didn’t make it into anything. There are, however, a couple tunes that did. “Back Off Bitch” was reworked on Use Your Illusions, as was “November Rain”. This old demo of “Back Off Bitch” is probably better than the final version because that’s Steven Adler on drums. “November Rain” is particularly interesting because it’s present in both acoustic and piano forms. You can hear how the song grew, but also that it wasn’t ready yet.
Three more versions of “Move to the City” (electric and two acoustic) are here in case you ever wanted a studio version of that song. There are also studio takes of “Mama Kin” and “Reckless Life”. It’s a bit much in terms of repeat, but at least all the versions are notably different from each other. You’ll also have to hear an acoustic “You’re Crazy” one more time, but “Jumpin’ Jack Flash” is pretty cool and jam-like in acoustic form.
A box set at this price point always has paper extras inside: replica posters, tickets, even Axl temporary tattoos. Nothing of any particular value. There are some posters and glossy photo prints. There is even a reprint of the original controversial Robert WIlliams artwork. What are you going to do with all this stuff? You’re not going to tape it to your walls. You’ll keep it safe and unseen in the box, of course. That’s why it’s valueless to most of us. There is also a massive hard cover photo book, in which you’ll find the CDs and Blu-ray. It’s light on text but heavy on glossy photos and memorabilia scans. (Within those scans, there’s plenty to read.)
The super deluxe Appetite For Destruction is of value to those who are going to listen to and appreciate all the different versions inside. The 5.1 mix is disappointing but there will be those who love how different it sounds. It’s not easy to consume all five discs in quick succession, but these bot sets rarely are.
The last couple months were pretty crazy. I was clocked out. My wife’s cancer diagnosisand surgeryreally took their toll on me. This resulted in me getting very sick right during Christmas holidays. There has been so much chaos that I really haven’t paid attention to music. I neglected my reading, I didn’t buy anything, and I didn’t listen to much either. I’m just starting to get caught up now that Jen’s surgery seems to have gone so well. She’s getting a little more independence back, and I’m able to take a little time to listen to music and write about it again.
A few weeks ago, I wrote about my history with the band Queen. I am on a Queen kick, but until recently I was missing two of Queen’s discs in the 2 CD format: Hot Space and A Kind of Magic. Eager to get back into the game, I ordered both from Amazon on a whim. I’m surprised how much I’m enjoying Hot Space. You wouldn’t think those synths and I would get along, but I’m digging the soul! I already owned one version of A Kind of Magic, the 1991 Hollywood CD, but the extra disc has seven bonus tracks.
Soon after, the new CD by Mike Slayen called DUDE came by the post. That enjoyed a couple spins, but I really wanted to go shopping again. I haven’t been to a record store since the stress kicked in. I had no idea what I was going in for, but I wanted to leave with a purchase. There have been plenty of new releases that I missed, and reissues too. The problem with new releases is, I don’t like to buy anything until I know what is on the Japanese version. I want the maximum amount of bonus music. So I decided to look at reissues instead and skip new releases. Fortunately for me there was plenty going on in reissues.
Big Wreck’s 20th Anniversary edition of their debut In Loving Memory Of… was my first grab. I didn’t think it was going to have bonus tracks on it, but it does: “Ill Advice” and “Still Holding”. I used to love that album, and I don’t know those two songs, so that was an easy buy. For those who don’t know this band, check out the big single “That Song”. Other hits you may know from this album are “The Oaf (My Luck is Wasted)” and “Under the Lighthouse”.
I then spied the recent 40th Anniversary edition of Rush’s classic A Farewell to Kings. The 3 CD set was $30, so I tucked it under my arm. Then I thought to myself, “You know what, I’d better check to make sure there isn’t another edition with more songs.” Good thing I did. Blabbermouth told me that there was a version with a brand new 5.1 surround mix by Steven Wilson on a blu-ray. OK, then. That had to be the one I get. Via the Sectors box sets and other super deluxe editions, I already had every other Rush 5.1 mix.
How much?
$149.99.
Ahh, fuck it. I earned this.
3 CDs, 1 blu-ray, and 4 LPs of vinyl, plus assorted goodies like a Rush turntable mat, a tour program and lithographs. The CDs and vinyl include an unreleased (in full) concert, Live at Hammersmith Odeon – February 20, 1978. A portion of this concert (11 tracks) was released in 1998 on a bonus CD to Rush’s live Different Stages. This box set has the full 14 song (plus drum solo) performance, newly mixed by Terry Brown himself. On blu-ray you will find the 5.1 and the stereo mix of the album A Farewell to Kings, in studio-quality clarity, plus three music videos. Mixer Steven Wilson is generally considered one of the great masters of the 5.1 art. The Sector 2 mix by Richard Chycki received a mixed to negative reception from fans, so I look forward to comparing.
And there’s still more: new Rush covers by Dream Theater, Big Wreck (hey, Big Wreck again!), The Trews and Alain Johannes. Plus a final mystery bonus track called “Cygnus X-2 Eh!”
It’s going to be fun digging into the Rush over the next week or so. But I wasn’t done catching up. Because of all the shit that happened, I didn’t get to see Star Wars in the theatres. Yes, I’m sorry folks, I’ll admit it: Until now I only saw The Last Jedi online. This, of course, could not stand. I must see every Star Wars Saga film in the theatre three times, minimum. For The Force Awakens, it was four. Fortunately the Waterloo Galaxy still had a 3D screening, which has disappeared elsewhere in town. Now I just have to see it two more times (2D will do fine).
I still have quite a few issues with The Last Jedi. The slow motion is annoying as hell, and the Finn/Rose side story is still just a side story. The ending is still at odds with set style of the saga Saga, and the movie could have used some editing. In general I enjoyed the film more this time. The Last Jedi is more poem than plot, but it has many rhymes. I think it’s a fine Star Wars movie, and the fanboy overreaction is ridiculous.
Catching up feels great. Music and movies still work as the best kind of escape. I highly recommend both.
BON JOVI – New Jersey (2014 Universal Super Deluxe edition, part 2)
Of all the Bon Jovi albums, New Jersey certainly deserved the Super Deluxe treatment. New Jersey‘s promotional cycle included two VHS releases, both present on this DVD: The old Wayne Isham tour documentary Access All Area, and New Jersey: The Videos. Isham was responsible for virtually every cool larger-than-life video Bon Jovi made. In 1988, trendy grainy black and white footage was all the rage, and so Access All Areas, where we will begin, has an over-abundance of it.
In a piece of incidental pre-show rehearsal footage, Richie Sambora sings “Purple Rain”, proving who the talent in the band always was. It is nice though to see everybody in the band hanging out, having a good time, and seeming like genuine friends. As for the audience, it’s amusing to see the giant hair from the perspective of today.
The sound of “Bang” by Russian metal band Gorky Park indicates we’re off to the Soviet Union. Bon Jovi were pioneering in being one of the only hard rock bands to play behind the Iron Curtain (they were officially sanctioned by the government), and this part of the show is certainly the most interesting. Bon Jovi even have a ten-man blues jam with the Russian band, building bridges at the end of the Cold War. The blues is universal. This visit leads to the massive Moscow Music Peace Festival, which I had on tape from MTV, and wore completely out. (Not shown: the backstage moment when Tommy Lee rips the shirt off Bon Jovi manager Doc McGhee’s back, for allegedly upstaging Motley Crue by using fireworks in Bon Jovi’s show, against prior agreement. It’s a long he-said she-said story involving McGhee who was managing both Motley and Bon Jovi at the time. Motley felt McGhee had prioritized Bon Jovi, and fired him immediately after.)
The boys have a blast in the warmth of Rio de Janeiro, quite a contrast with snowy Moscow. In Tokyo they are chased by a swarm of screaming girls. Through it all, even though they’ve been on the road forever and can’t wait to get home, they maintain themselves with a lot of joking around. Fortunately Isham captured this endearing footage. The live rehearsal stuff is also excellent, up close and in the faces of the band.
In a very cool moment backstage at Wembley, Bon Jovi, Cinderella and the Scorpions work on covers together for a big jam. “Travelling Band”…holy shit, is that Elton John on piano? Sure looks like it. Rick Allen, Brian May, Lita Ford! “I am the happiest kid on Earth!” shouts an excited David Bryan. Another gig features Bon Jovi with the late comedian Sam Kinison on “Wild Thing”. At Tower Records, they are threatened with arrest by the riot squad if they perform, so naturally Jon and Richie break out the acoustics and do “Ride Cowboy Ride”. In swoop the fuzz, who had nothing to worry about. Alec John Such’s birthday is celebrated in West Berlin, where they visit the wall. (In a shivery moment, Jon is eyeballed by an East German soldier on the other side.) Their cover of “The Boys Are Back in Town” is performed, and Jon takes a chip out of the wall.
Jimmy Page is present at a three hour charity gig at Hammersmith, and they jam on “Train Kept a Rolling”. (Best moment: when Jon sings a Steven Tyler “wha-ga-ga-ga” in it near the end, just like Tyler did in Aerosmith’s version.) It’s clear that even then Jon was the boss — he alone makes the setlist, and says if something goes wrong he’ll call the shots. He comments he has “never been so nervous.” Bad Company’s “Shooting Star” is a duet with Richie Sambora, who had been playing it long before Bon Jovi formed. It’s a stunning version and it’s hard to imagine Bon Jovi ever doing anything this big again, both in terms of success and quality.
Australia! “Bon Jovi: We go everywhere, but we live nowhere!” says Sambora. “Love For Sale” is played at HMV for swarms of long-hairs both male and female (but mostly female). Sam Cooke’s “Having a Party” is another incredible cover selection, and you have to give Jon credit for that. The final show is a big multi-gig stand in Guadalajara, Mexico that almost never happened due to “politics” (money) and a riot! The first gig is postponed to the next day forcing Bon Jovi to play a double-header starting at 11 am! “We should go on stage in riot gear,” jokes (?) Jon. (They don’t.)
Access All Areas was a good rock doc for the time. It feels whitewashed and scrubbed clean of blemishes, but that was music in general in the late 80’s. The real pleasure is getting to see the other band members hanging out. Alec John Such seems a funny, talented guy with a great voice. David Bryan is clearly a lot more gifted than he gets to show off in the band.
The music videos (only mixed in stereo, unfortunately) are all you remember them to be: more mixtures of black & white, and colour footage, golly! Both versions of “Bad Medicine” are included. (More Sam Kinison!) There are funny interludes with the band in between the songs, joking around back stage. (Special guest: Skip Rope Skid Row’s Dave “Snake” Sabo.) “Me, if I wasn’t a musician, I’d be a drummer!” says Jon. Of the music videos, “I’ll Be There For You” and “Lay Your Hands On Me” are the coolest, just no-nonsense stage performance clips. “Blood on Blood”, which I’d never seen before, is a live version.
The DVD portion of this box set is a nice supplement, but you won’t be in a hurry to sit down and watch again. The black & white/colour back and forth is very tiring. Fortunately Bon Jovi seem(ed) like a nice bunch of guys from the neighborhood that have loads of talent, and fun to watch in any setting.
DEEP PURPLE – =1 Access All Areas (2024 Edel DVD)
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